' SPECIAL  PUBLICATION  NO.  8 

i 


R.  EDERHEIMER  PRINT-CABINET 
366  FIFTH  AVENUE,  NEW  YORK 
FEBRUARY  1915 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/illustratedcatal00eder_1 


WOLF  HUBER 


No.  7 


ILLUSTRATED  CATALOGUE 
OF  THE  SECOND  EXHIBITION 

OF 

One  Hundred  Original  Drawings 
by  the  Old  Masters 

with  an  introduction  by 

RICHARD  EDERHEIMER 


The  exhibition  comprises  four  groups : 

A.  Primitive  German  and  Netherland  Masters 
B . Italian  Drawings 

C . Dutch,  Flemish  and  unknown  drawings  of  the  XVI Ith  Century. 
D.  French  and  English  drawings. 

For  the  display  of  the  latter  two  groups,  Mr.  George  S.  Heilman  has  kindly  lent  one 
of  his  galleries,  adjoining  the  Print-Cabinet. 


The  Exhibition  will  be  open  on 

Monday  the  15th  of  February 

and  last  until 

Saturday  the  6th  of  March  inclusive 


R.  EDERHEIMER  PRINT-CABINET 

366  FIFTH  AVENUE,  NEW  YORK 


Copies  of  this  Catalogue , One  Dollar 


INTRODUCTION 


THERE  remains  little  new  for  me  to  say  with  reference 
to  the  collecting  of  drawings  by  old  masters,  after 
what  I have  stated  in  the  introductory  essay  to  my 
last  catalogue  devoted  to  that  field.  To  the  views 
there  expressed  came  no  change,  but  a great  number 
of  very  pleasant  experiences  were  encountered,  expe- 
riences which  have  increased  my  love  for  and  my 
interest  in  drawings  as  far  as  that  was  still  possible.  Only  he  who 
has  spent  much  time  traveling  all  over  Europe,  pondering  in  the 
print-rooms  of  the  great  Museums  over  their  treasures  of  old  draw- 
ings ; hunting  for  such  treasures  in  the  markets  of  all  countries ; who, 
guided  by  the  friendly  assistance  of  the  great  authorities,  is  enabled 
to  make  finds  and  discoveries  all  over — only  he  who  has  had  the  good 
luck  of  such  a travel  of  research  can  realize  the  delight  and  almost 
passion  this  wonderful  field  instils  in  the  real  lover  of  arts. 

The  crowning  pleasure  of  such  delightful  experiences,  how- 
ever, comes  with  the  ability  to  show  to  a congenial  and  appreciative 
audience  the  results  of  such  a hunting  trip,  and  to  win  over  more 
and  more  of  our  young  art  community  to  the  charms  of  collecting 
old  drawings. 

Again,  as  about  fourteen  months  ago  for  the  first  time,  I am  in 
the  fortunate  position  of  prefacing  a catalogue  of  an  exhibition  of 
one  hundred  drawings  of  practically  all  schools.  With  the  excep- 
tion of  not  more  than  a dozen  these  are  all  the  result  of  Euro- 

s 


pean  research  of  last  summer.  While  in  the  main  I followed  the 
aims  of  my  first  venture,  there  was  in  the  execution  of  my  program 
a considerable  change. 

My  last  year’s  exhibition  was  a first  experiment,  and  one  of  a 
rather  risky  nature,  too : the  field  was  relatively  new  and  I did  not 
know  how  many  followers  I could  expect.  Thanks  to  a wonder- 
fully appreciative  interest  of  almost  all  the  art  editors  of  our  press, 
and  especially  owing  to  the  excellent  articles  of  Miss  E.  L.  Cary, 
Messrs.  Charles  H.  Caffin  and  Royal  Cortissoz,  a far  greater  inter- 
est in  this  first  venture  was  aroused  than  I could  ever  have  expected. 

Being  a first  venture,  the  material  of  the  collection  was  some- 
what influenced  by  two  important  factors.  The  first  was,  that  in 
a relatively  unknown  field,  it  was  deemed  necessary  to  arouse  a gen- 
eral interest  by  having  as  many  great  artists’  names  represented  as 
possible.  And  even  then  I stated  in  the  introduction  that  I consid- 
ered the  name  of  secondary  importance  only.  From  this  viewpoint 
some  drawings  were  excluded  which,  owing  to  their  artistic  merit, 
deserved  perhaps  greater  attention  than  quite  a few  of  those  shown, 
which  bore,  however,  a well-known  name.  The  second  influential 
factor  was  the  risk  of  the  venture,  leading  me  to  obtain  a large 
percentage  of  the  items  shown  as  a loan  or  on  consignment;  for  it 
would  not  have  been  wise  to  invest  too  great  outlays  in  a some- 
what hazardous  enterprise.  This  lack  of  freedom  naturally  influ- 
enced the  material  shown;  however,  the  co-operation  of  European 
and  New  York  friends  enabled  me  to  arrange  an  almost  uniformly 
representative  display.  The  character  of  the  present  exhibition  is 
naturally  quite  different.  First  of  all,  having  found  that  there  is 
a demand  for  drawings  for  their  intrinsic  qualities  irrespective  of 
attributions,  I could  take  the  artistic  merit  as  a first  guidance  in  the 
collecting  of  my  material.  Also,  knowing  that  there  was  much  in- 
terest and  a very  good  market  for  good  drawings  both  here  and 
abroad,  I could  freely  buy  whatever  I thought  worth  acquiring, 
so  that  my  present  exhibit  contains  no  item  that  has  not  been  per- 
sonally purchased. 


4 


As  on  the  previous  occasion,  every  drawing  here  shown  has 
been  submitted  to  important  authorities,  some  at  the  Berlin  Museum, 
some  at  the  British  Museum,  others  in  Vienna,  Dresden,  Frankfort. 

The  above  indicated  change  in  character  of  the  material  does 
not  mean  that  great  artists  have  been  purposely  avoided;  many 
are  represented  here  by  indubitable  masterpieces.  I mean  to  ex- 
press that  besides  these  a considerable  number  of  drawings 
have  been  acquired  mainly  for  their  artistic  merit.  For  the  con- 
noisseur of  drawings  the  chief  pleasure  consists  in  discovering  that 
very  note  of  artistic  quality  which  makes  a drawing  worth  acquir- 
ing. There  are  numberless  paintings  in  existence,  even  ancient 
ones ; but  how  scarce  are  the  good  ones ! The  same  refers  to 
drawings.  I remember  an  afternoon  in  Rome — it  was  on  that  first 
of  August  when  the  world  was  trembling  on  the  eve  of  its  greatest 
catastrophe.  I sat  in  a little  store  in  the  Via  Sistina,  oblivious 
of  everything  outside,  and  fought  my  way  through  thousands  of 
old  drawings — finally  finding  just  one  which  I thought  worth  buying, 
but  not  good  enough  to  be  in  this  exhibition. 

Good  drawings,  no  matter  whether  by  known  masters  or  by 
unknown,  are  excessively  rare.  It  is  the  first  task  of  a collector 
to  train  his  eye  for  the  intrinsic  art  value,  unbiased  by  subject  or 
attribution.  To  train  the  eye  in  that  direction,  the  best  way  is, 
where  the  originals  are  not  accessible,  to  procure  the  wonderful 
reproductions  that  have  been  published  in  recent  years  by  various 
art  societies.  It  is  wrong  to  conclude  that  it  is  hard  to  interest  a 
general  art-loving  public  in  drawings  because  there  is  no  such 
printed  reference  material  as  there  is  concerning  engravings.  Vastly 
better  than  printed  reference  books  or  oeuvre  catalogues  are  the  fac- 
similes of  great  drawings.  As  the  collector  of  autographs  has  his 
material,  in  facsimiles  of  handwriting,  so  the  collector  of  drawings 
should  have  his  specimens  of  the  essential  handwriting  of  the  artists. 

The  other  day  I submitted  a German  sixteenth  century  drawing 
to  a studious  collector  of  this  city.  He  said  at  once:  “I  do  not 

think  this  is  a good  drawing.  It  lacks  that  freedom  of  line.  A 


5 


great  artist  would  never  draw  like  that.’’  (At  the  beginning  of  col- 
lecting one  is  and  should  always  be  more  sceptical  than  when  the 
eye  has  acquired  a greater  training  and  liberty.)  Without  replying, 
I showed  him  two  reproductions  of  the  work  of  that  master,  one 
published  by  the  Vasari,  the  other  by  the  Prestel  Society.  No  fur- 
ther answer  was  necessary ; he  admitted  readily  that  they  all  showed 
the  same  handwriting. 

When  a collector  once  has  arrived  at  the  point  where  he  can 
immediately  detect  the  qualities  that  make  a drawing  worth  while, 
then  he  will  know  the  magic  charm  inherent  in  this  field  of  col- 
lecting. Mr.  Laurence  Binyon,  of  the  British  Museum,  expressed 
to  me  the  opinion  that  the  collecting  of  old  drawings  gives  infinitely 
greater  pleasure  than  that  of  engravings,  a view  which  has  recently 
been  reiterated  by  various  American  art  lovers.  May  their  number 
increase,  and  may  this  exhibition  be  a means  to  an  end  so  fruitful 
of  pleasure  for  lovers  of  beauty! 

Richard  Ederheimer. 


6 


MASTER  WILHELM  OF  COLOGNE 
No.  2 


Catalogue 

A.  GERMAN,  SWISS  AND  EARLY  NETHERLAND  MASTERS 
1 PRIMITIVE  MASTER,  about  1400. 

St.  John,  the  Evangelist. 

The  Saint,  in  a wide  cloak,  holding  the  book  in  his  left,  extends 
a goblet  with  his  right,  above  a ribbon  with  inscription  “Sanctus 
Johannes  evangelista”  in  characters  of  the  14th  or  early  15th  Cen- 
tury. 

On  paper  with  the  watermark  of  the  bull’s  head.  On  the  reverse 
traces  of  an  early  manuscript. 

From  the  collection  W.  Koller. 

Height,  8 inches;  width,  5^  inches. 


2 MASTER  WILHELM  OF  COLOGNE  (second  half  of  14th 

century) 

The  Virgin  with  the  Child,  with  crown  and  halo,  to  the  left  a 
priest  or  donator  and  above  his  head  an  empty  inscription  ribbon. 
Design  for  a glass-painting,  on  paper  with  the  bull’s  head  water- 
mark. 

From  the  Lanna  collection  and  described  in  that  catalogue  under 
the  above  attribution.  Dr.  Meder  of  Vienna  published  and  repro- 
duced this  important  drawing  as:  Cologne  Master  of  about  1420, 
under  No.  1254  in  his  famous  work,  “Handzeichnungen  alter  Meis- 
ter  in  der  Albertina  und  anderen  Sammlungen.” 

Height,  IQ$£  inches;  width,  7^4  inches. 

See  reproduction. 


7 


3 LUCAS  VAN  LEYDEN,  1494-1533.  (Attributed  to.) 

(Attributed  by  others  to  Cornelis  Engelbrechtsen,  1468-1523,  and 
also  to  Dirck  Vellert,  1511-1550.) 

Beggarly  man,  seated  upon  an  upturned  tub,  by  an  open  hearth, 
guarding  the  fire  above  which  hangs  a kettle.  At  his  feet  a dead 
cat,  which  he  is  apparently  about  to  prepare  for  his  meal.  A dog- 
sitting  to  the  right,  below  an  open  window,  which  affords  a view 
into  a garden,  where  a woman  is  seen  at  work. 


Masterly  chiaroscuro  drawing  of  exceptional  quality.  Pen  and 
white  high-lights  on  dark  grey  ground. 

Circular,  diameter  7^$  inches. 

From  the  Grahl  Collection;  another  collector’s  mark  to  the  right, 
partly  erased. 


4 HERRI  MET  DE  BLES  (BLESIUS). 

Netherland  painter  of  the  Sixteenth  Century. 

(Attributed  to) 

St.  Luke  Painting  the  Madonna. 

Circular  drawing  with  rich  gothic  architecture.  The  monogram 
of  Lucas  van  Leyden  on  the  round  tablet  on  a pillar  at  the  left 
apparently  added  by  a later  hand.  Also  some  of  the  pen  lines 
have  been  strengthened  in  a later  ink. 

Pen  and  India  ink  on  yellowish  ground  with  white  high-lights. 

Superb  and  rich  composition,  attributed  by  some  to  Dirck  Vellert. 
The  above  attribution  is  due  to  Dr.  Friedlaender  of  Berlin. 

Diameter,  10^  inches. 


5 JOERG  BREU,  1480-1537. 

Tubal  Cain  Invents  Music. 

Masterly  chiaroscuro  design  in  pen  and  India  ink  on  paper 
grounded  in  brown  with  white  high-lights  added.  Magnificent  com- 
position with  rich  renaissance  architecture  and  prospect  into  an 
open  landscape.  Dated  1522.  The  monogram  of  Albrecht  Altdor- 


8 


fer  added  in  a later  hand.  There  is  an  Altar  painting  in  Augsburg, 
a wing  of  which  shows  this  design  executed. 

From  the  R.  Peltzer  Collection. 

Height,  1 inches;  width,  6^2  inches. 


6  The  Same. 

Circular  composition,  apparently  representing  a fountain  of 
youth.  In  the  center  of  the  foreground  three  women  bathing,  at 
the  left  a knight  leading  his  wife  to  the  fountain,  at  the  right  a 
knight  spectator,  holding  his  horse;  in  the  middle  ground  a feast- 
ing crowd  with  wine  and  music,  behind  a wall  the  roofs  and  towers 
of  a mediaeval  city. 

Pen  drawing,  in  Breu’s  most  characteristic  manner,  partly  col- 
ored in  red,  blue  and  light  green. 

Diameter,  11  inches. 


7  HUBER,  WOLFGANG  (WOLF). 

Born  Feldkirch,  about  1480;  worked  in  Passau  since  1515,  where 
he  is  still  found  in  1544. 

St.  Jerome  in  the  Desert. 

Magnificent  pen  drawing  on  paper  grounded  in  greyish-brown 
with  white  high-lights.  Dated  1508. 

Drawings  of  that  period  in  such  quality  are  of  the  utmost  rarity. 
Height,  8^4  inches;  width,  6^4  inches. 

See  reproduction. 


8  The  Same. 

Landscape,  with  a mediaeval  city  in  the  middle-ground,  to  the 
right  a river,  hills  with  a castle  in  the  rear,  and  tall  trees  in  front. 

Dated  1531. 

Pen  drawing  of  the  same  extraordinary  quality  and  importance 
as  the  preceding  item. 

Height,  8J4  inches;  width,  inches. 


9 


9  TOBIAS  STIMMER,  1539-1587. 

The  Angel  Appearing  to  the  Shepherds. 

Masterly  chiaroscuro  design  on  dark  greenish  ground,  pen,  India 
ink  and  white  high-lights. 

From  the  Grahl  Collection. 

Height,  7^4  inches;  width,  5%  inches. 


10  The  Same. 

Blind  Musicians.  The  piper  leading  the  fiddler  by  the  cane 
towards  a ditch,  into  which  the  guide  is  about  to  tumble.  Compo- 
sition surprisingly  similar  to  Peter  Breughels’  famous  painting. 

Chiaroscuro  design  on  dark  grey  paper,  pen,  India  ink  and  white 
high-lights. 

Height,  inches;  width,  7%  inches. 


11  The  Same. 

Design  for  coat  of  arms,  supported  and  held  by  four  angels. 
Pen  drawing,  hexagonal,  with  slight  red  coloring. 

From  the  Lanna  Collection. 

Height,  4%  inches;  width,  2^  inches. 


12  Unknown  German  Master. 

Allegorical  design,  representing  a knight  trying  to  climb  to 
heaven  upon  a ladder,  but  pulled  back  with  ropes  by  the  four 
allegorical  figures  of  lust,  envy,  poverty  and  death.  Above  the 
inscrption:  Quis  me  separabit  a charitate  Christi?  Tribulatio? 
an  Angustia?  an  Fames?  an  Nuditas? 

Highly  interesting  and  extraordinarily  well  finished  drawing  in 
pen  and  India  ink. 

The  treatment  suggests  strongly  the  influence  of  Holbein  the 
younger. 

Height,  8 % inches;  width,  7 inches. 


10 


13  VIRGIL  SOLIS,  1514-1562. 

Leda  and  the  Swan. 

Chiaroscuro  drawing  on  dark  blue  ground,  pen  with  white  and 
yellow  high-lights.  The  monogram  above  in  the  center. 

Superb  drawing  of  the  highest  quality;  from  the  Collection 
Anton  Graff. 

Height,  5 */%  inches;  width,  4*4  inches. 

See  reproduction. 


14  The  Same.  (Attributed  to) 

Circular  allegorical  design,  suggesting  the  fall  of  Phaeton.  Nude 
man  falling  from  the  sky,  the  sun  (with  flaming  rays  and  a human 
face)  to  the  right,  the  crescent  moon  to  the  left.  Wide  mountain- 
ous landscape  beyond  a river.  On  the  hill  in  the  foreground 
insignia  of  temporal  and  ecclesiastical  power,  royal,  papal  and 
episcopal  crowns,  scepter  and  swords. 

Pen  with  slight  blue  coloring.  Exquisite  design,  unsigned. 

Diameter,  3$4  inches. 


15  JOST  AMMAN,  1539-1591. 

Fortitude. 

Young  woman,  carrying  a broken  column,  in  the  distance  a 
landscape  with  villages  and  ruins. 

Pen  and  India  ink. 

From  the  R.  Peltzer  Collection. 

Height,  5^  inches;  width,  4*/2  inches. 


16  The  Same. 

Two  noblemen  with  a horse. 

Pen  and  ink  as  the  preceding  item  and  from  the  same  collection. 
Height,  3f4  inches;  width,  4*4  inches. 


11 


17  Swiss  or  German  Glass  Painter,  Sixteenth  Century. 

Manner  of  Nicolas  Manuel  Deutsch  (1484-1530). 

Heraldic  design  of  a Lion  as  flag-bearer. 

Superb  chiaroscuro  drawing  on  brown  ground. 

Pen,  India  ink  and  white  high-lights. 

Height,  11^4  inches;  width,  5 inches. 

18  CHRISTOPH  MURER  (MAURER). 

Swiss  Glass  Painter,  1558-1614. 

Orpheus  Playing  on  the  Lute  to  the  Animals. 

Magnificent  pen  and  India  ink  drawing  from  the  Feltzer  Collec- 
tion. In  the  Peltzer  Catalogue  attributed  to  Daniel  Lindtmayer, 
1552-1607,  of  the  same  school.  This  drawing,  however,  has  been 
pronounced  by  highest  authority  as  typical  of  the  manner  of 
Murer. 

Height,  6y8  inches;  width,  3%  inches. 


19  Swiss  Glass  Painter  of  the  Sixteenth  Century. 

Rich  Composition  for  a glass  window.  In  the  center  Christ  at 
the  table  of  Simon  the  Pharisee,  with  Mary  Magdalen  at  His  feet. 
Below,  at  the  right,  a kneeling  donator  in  prayer,  with  coat  of 
arms.  At  the  left  a tablet  with  inscription  of  his  name  and  the  date., 
1567.  In  the  upper  right  a biblical  scene  (4  Reg.,  Chap.,  13). 
The  corresponding  space  at  the  left  is  blank. 

Pen  drawing,  only  the  coat  of  arms  and  the  halo  above  Christ’s 
head  in  colors. 

Drawings  of  this  school  and  in  such  breadth  of  execution  are  of 
extreme  rarity. 

On  paper  with  the  watermark  of  a bear. 

Height,  15^2  inches;  width,  10^2  inches. 

20  JOHANN  VON  ACHEN  (AKEN). 

Born  Cologne,  1552-1615. 

Large  allegorical  composition,  in  the  middle  ground  the  baptism 
of  Christ. 


12 


VIRGIL  SOLIS 


Pen  and  India  ink  on  grey  ground  with  white  high-lights. 
Height,  8 inches;  width,  12 inches. 

21  JOHANN  WILHELM  BAUER  (BAUR,  BAWER). 

Born  Strassburg  about  1600,  died  Vienna  1640.  Miniature 
painter  and  etcher,  influenced  by  Callot. 

David  with  Sword  and  the  Head  of  Goliath. 

Exquisite  pen  and  bistre  drawing,  with  blue  coloring  added. 
Signed  and  dated,  Strassburg,  1621. 

Height,  5 % inches;  width,  3§4  inches. 


B.  ITALIAN  MASTERS. 

22  LIONARDO  DA  VINCI,  or  his  school. 

One  sheet  with  eight  different  sketches  in  front,  and  in  verso 
a pen  study  of  a warrior  standing  over  and  shielding  the  body  of 
a fallen  fighter. 

The  name  of  Lionardo  at  the  lower  left  corner  added  by  a later 
hand. 

An  extremely  interesting  sheet  of  drawings  from  the  Peltzer 
Collection,  whence  they  came  into  my  hands  under  the  above  attri- 
bution. While  it  is  necessary  to  be  very  careful  in  using  the  biggest 
names  when  attached  to  drawings  unless  there  are  positive  means 
of  verification,  which  in  many  cases,  as  here,  are  very  hard  to 
produce,  it  is  interesting  to  state  here  that  a drawing  in  the  British 
Museum  which  for  long  has  been  given  to  the  school  of  Lionardo 
and  which  is  very  similar  to  the  one  here  shown,  has  been  positively 
given  to  the  Master  himself  and  was  exhibited  in  the  Museum 
under  that  attribution  last  summer.  Mr.  A.  M.  Hind  has  drawn  the 
writer’s  attention  to  the  great  similarity  in  draughtsmanship  of  the 
two  drawings. 

Height,  SJ/2  inches;  width,  3^4  inches. 

23  DOMENICO  BECCAFUMI,  1484-1549,  and  GIULIO  CAMPAG- 

NOLA,  Born  1482. 

Sketches  of  two  Angels,  in  sanguine.  On  the  upper  right  corner 


13 


fragment  of  a pen  sketch  of  a nude  body  and  old  handwriting. 
On  the  reverse,  apparently  by  the  same  hand,  a pen  sketch  repre- 
senting a young  shepherd  seated,  showing  the  reverse  of  Giulio 
Campagnola’s  engraving  (Kristeller  8).  An  interesting  fact  is  that 
the  face  in  the  above  drawing  is  absolutely  identical  with  the  face 
of  the  volin  player  of  the  drawing  at  the  Ecole  des  Beaux  Arts  in 
Paris,  recently  published  by  the  Berlin  Graphical  Society,  while 
there  is  relatively  little  resemblance  in  the  features  between  the 
engraving  and  the  sketch. 

The  attribution  to  Campagnola  has  been  established  by  Mr.  A. 
M.  Hind.  From  the  collection  of  Count  Fries,  1827. 

Height,  7%  inches;  width,  4^4  inches. 


24  DOMENICO  CAMPAGNOLA,  Venice,  1484-1556. 

Wide  landscape,  with  river,  hills  and  cottages.  At  the  right  a 
shepherd  with  his  flock,  two  pedestrians  and  a man  riding  on  a 
donkey. 

Magnificent  pen  drawing  in  the  master’s  characteristic  flowing 
line.  Drawings  in  this  manner  have  previously  been  attributed  to 
Titian.  There  are  two  large  landscapes  of  almost  identical  style 
in  the  Louvre  Collection  still  given  to  Titian.  The  present  draw- 
ing came  into  my  hands  under  that  attribution,  but  I think  the 
above  authorship  beyond  doubt,  an  opinion  which  has  been  con- 
firmed by  the  British  and  Berlin  authorities. 

Height,  9^4  inches;  width,  15  inches. 


25  BENVENUTO  CELLINI,  Florence,  1500-1571. 

Studies  of  hands  and  draperies;  five  sanguine  sketches  on  one 
sheet.  On  the  reverse  one  more  piece  of  drapery  and  several 
faint  but  extremely  clever  ornamental  designs  quite  characteristic 
of  the  master.  Signed  in  ink  on  both  sides,  the  signature  on  the 
front  appears  contemporary. 

Height,  6J4  inches;  width,  5j4  inches. 


26  LUCA  CAMBIASO,  called  Luchetto  da  Genova,  1527-1580. 

Samson  and  Delilah. 

Samson  asleep,  his  head  resting  on  the  knee  of  Delilah,  who  is 
cutting  his  hair. 


14 


Fine  specimen  of  the  bold  and  vigorous  and  peculiar  treatment 
of  line  so  characteristic  of  that  artist,  who  worked  with  a reed  pen 
exclusively  and  omitted  all  shading.  From  the  collection  Santo 
Varni,  Genoa,  1888. 

Height,  15J4  inches;  width,  10%  inches. 

27  PORDENONE,  GIOVANNI  ANTONIO  DA.  Venice.  Died  1539. 
Concord. 

A group  of  nine  nude  children  dancing  a roundelay. 

28  The  Same. 

Discord. 

To  the  left  three  children  playing  at  dice  and  quarreling,  to  the 
right  two  children  having  already  arrived  at  blows,  and  two  wrest- 
ling on  the  ground. 

Companion  piece  to  the  preceding  item  and  in  the  same  bold 
spirited  and  characteristic  manner. 

Two  fine  charcoal  drawings. 

Height,  10  inches;  width,  6%  inches. 

29  LELIO  ORSI  DA  NOVELLARA.  Reggio,  1510 — Novellara,  1587. 
Christ  Between  the  Two  Disciples  on  the  Way  to  Emaus. 

On  the  reverse:  Entombment  of  Christ,  with  Angels. 

Masterly  drawing  in  pen  and  wash  on  greenish  paper. 

Height,  11  inches;  width,  7%  inches. 

30  OTTAVIO  LEONI,  Roman  School,  1574-1626. 

Portrait  of  a Cardinal  (Seni). 

Black  and  white  chalk  on  greenish  paper,  dated  1611. 

Height,  8%  inches;  width,  6 inches. 

31  The  Same. 

Portrait  of  a Cardinal  (Platti). 

Same  as  No.  30.  The  names  of  both  portraitees  written  in  ink 


15 


on  the  reverse.  Both  from  the  Collection  William  Mayor,  London, 
1882.  There  must  have  been  a series  of  these  portrait  drawings  by 
Leoni  in  that  collection,  as  several  have  passed  through  my  hands, 
all  showing  the  same  collector’s  mark  and  characteristic  qualities. 

Two  superb  specimens. 

Height,  8y2  inches;  width,  5 inches. 

32  ZAMPIERI,  DOMENICO.  Called  il  Domenichino,  1581-1641. 

Study  of  a Sleeping  Youth. 

Red  chalk  drawing  of  highest  artistic  quality. 

From  the  collection  Nathan  Hone,  1718-1784;  another  collec- 
tor’s mark  in  the  lower  left  corner. 

Height,  6y2  inches;  width,  7§4  inches. 

33  BARBIERI  DA  CENTO.  Giovanni  Francesco,  called  Guercino 

Bologna,  1591-1666. 

Jupiter  in  the  Clouds. 

Pen  drawing  in  Guercino’s  characteristic  manner. 

Height,  &/>  inches;  width,  7l/2  inches. 

34  LANFRANCO,  CAV.  GIOVANNI.  1678-1744. 

Design  for  a Statue. 

Most  likely  Moses  holding  the  tablets  of  the  Commandments. 

Pen  and  ink,  very  similar  in  manner  to  the  style  of  Giov. 
Batt.  Tiepolo,  signed  Lanfranco,  in  ink,  on  lower  left. 

Height,  iy2  inches;  width,  4 24  inches. 


C.  DUTCH,  FLEMISH  AND  UNKNOWN  MASTERS  OF  THE 
SEVENTEENTH  CENTURY. 

(In  Alphabetical  Order) 

35  LUDOLPH  BACKHUYZEN.  1631-1708. 

Shipwreck  on  Cliffs  in  Storm. 

Pen  and  wash. 

Height,  3'A  inches;  width,  5%  inches. 


36  PIETER  BARBIERS.  1717-1780.  (Attributed  to.) 


Wide  Landscape,  with  hills,  trees  and  a winding  road. 

In  the  foreground  a seated  wanderer,  playing  with  a dog,  to  the 
left  a peasant  woman. 

Broad  landscape  composition,  somewhat  in  the  style  of  Herman 
Saftleven;  paper  and  treatment,  however,  indicate  rather  the  early 
18th  Century. 

Height,  10  inches;  width,  13%  inches. 


37  ABRAHAM  BEGEYN.  1630-1697. 

The  Ford. 

In  the  foreground  woman  walking,  a man  on  a donkey,  and  cattle. 
Pen,  sepia  and  India  ink. 

From  the  R.  Peltzer  Collection. 

Height,  5 inches;  width,  8 inches. 


38  FERDINAND  BOL.  1610-1681. 

Tobias  and  the  Angel. 

Masterly  drawing  in  red  and  black  chalks,  in  Bol’s  most  charac- 
teristic manner.  The  face  of  the  angel  shows  a conspicuous  re- 
semblance to  Rembrandt’s  wife,  Saskia,  a fact  which  may  illus- 
trate the  close  relation  of  the  two  artists. 

Height,  10%  inches;  width,  7%  inches. 


39  JOHANNES  BRONKHORST.  1648-1727. 

A Sheet  with  24  studies  of  insects. 

Exquisite  designs  in  pen  and  water-color  from  the  collection 
Armand  Sigwalt,  Paris. 

Height,  3%  inches;  width,  7%  inches. 


17 


40  JAN  VAN  DE  CAPPELLE.  1624-1679. 

Winter  Scene  on  a Frozen  Bay. 

With  skaters  and  kolf  players,  sailing  vessels  at  right  and  left 
and  in  the  distance. 

Water  color  drawing  of  rare  charm. 

Height,  5^4  inches;  width,  7 % inches. 

41  ABRAHAM  DELFOS.  Leyden,  1731-1820. 

Head  of  a Young  Woman. 

Carefully  executed  design  in  red  and  black  chalks  on  vellum. 

Height,  8%  inches;  width,  7 inches. 

42  CORNELIS  DUSART.  1660-1704. 

Young  Man,  in  full  length,  seated  on  a chair,  resting. 

Most  exquisite  design  in  red  and  black  chalks  on  bluish  paper. 

Height,  11  inches;  width,  7^4  inches. 

43  The  Same. 

A sketch-book  leaf  with  fourteen  studies  of  heads  in  red  and 
black  chalks. 

Humorous  and  extremely  clever  sketches. 

Height,  5i/&  inches;  width,  9 inches. 

44  ANTHONY  VAN  DYCK.  1599-1641. 

(Attributed  to.) 

The  Slaughter  of  the  Innocents. 

Bold  and  marvelously  dramatic  conception.  Superb,  vigorous 
composition. 

Chalk  and  bistre  design  on  greenish  paper  in  the  vivid  style 
found  in  many  Van  Dyck  drawings. 

The  attribution  is  due  to  Dr.  Bock,  of  the  Berlin  Museum,  who 
called  this  a drawing  of  high  importance  and  one  of  the  finest  of 
this  collection. 


18 


From  the  R.  Peltzer  Collection. 

Height,  9%  inches;  width,  13^  inches. 

45  AART  DE  GELDER,  1645-1727.  School  of  Rembrandt. 

Joseph  Inquiring  for  His  Brethren. 

Spirited  sepia  sketch.  Apparently  one  of  a whole  series  of  Bible 
illustrations  by  the  same  hand,  all  showing  numbers  and  reference 
to  the  Bible  text  in  the  same  handwriting. 

One  of  these  drawings  was  reproduced  in  the  Catalogue  of  the 
Peltzer  Collection.  Dr.  Meder,  head  of  the  Albertina  Collection, 
told  me  that  he  has  encountered  various  items  of  this  series. 

Height,  8 inches;  width,  12^  inches. 

46  HENDRICK  GOLTZIUS.  1558-1616. 

Diana. 

Spirited  pen  and  water-color  drawing. 

Oval;  height,  5^6  inches;  width,  424  inches. 


47  SCHOOL  OF  GOLTZIUS  (MATHAM  or  SAENREDAM). 

Young  woman  crowning  another  with  a wreath  of  flowers,  in  the 
rear  a third  playing  the  tambourine. 

Spirited  and  carefully  executed  black  chalk  drawing  from  the 
Peltzer  Collection,  where  it  was  attributed  to  Willem  van  Mieris. 
The  above  attribution,  however,  has  been  declared  more  likely  by 
the  authorities  who  inspected  this  collection. 

Height,  5%  inches;  width,  4 J4  inches. 

48  JAN  VAN  GOYEN.  Leyden,  1596.  The  Hague,  1656. 

Landscape. 

Wide  road  bordered  by  trees,  from  the  distance  a wagon  is  seen 
approaching. 

Pencil  drawing.  Signed  V.  G.  in  lower  right. 

Height,  6 inches;  width,  1024  inches. 


19 


49  JAN  LIVENS.  1607-1663. 

Portrait  of  an  Old  Man,  in  Profile. 

Sepia,  India  ink  and  light  coloring. 
From  the  R.  Peltzer  Collection. 
Height,  9$4  inches;  width,  7^4  inches. 


50  JACOB  JORDAENS.  1593-1678. 

Christ  with  the  Disciples  at  Emaus. 

Masterly  color  sketch  in  Jordaen’s  most  characteristic  style.  An 
unusually  fine  example. 

From  the  Peltzer  Collection. 

Height,  10  inches;  width,  lll/i  inches. 


51  SALOMON  KONINCK,  Amsterdam.  Born  1609. 

Sketch  of  a Bearded  Man. 

Pen  and  India  ink.  Powerful  design  most  indicative  of  the 
artist’s  proximity  to  Rembrandt. 

Height,  654  inches;  width,  5-H$  inches. 


52  WILLEM  VAN  MIERIS.  1635-1681. 

Young  Woman,  in  a rich  room,  feeding  a parrot;  behind  a servant 
with  breakfast  tray. 

Black  and  white  chalks  on  blue  paper. 

Height,  8%  inches;  width,  7^4  inches. 


53  Miniature  Painting,  attributed  to  Hans  Bol.  1534-1593. 

In  the  foreground  St.  Jerome  in  penitence,  with  the  lion;  to  the 
right  wide  perspective  into  open  landscape  with  a winding  river, 
bridges  and  hills.  The  perspective  and  foliage  are  quite  charac- 
teristic of  the  work  of  Hans  Bol. 

go 


GERARD  TERBORCH 


No.  67 


Exquisite  miniature  in  superb  coloring;  on  vellum. 
Collection  Hammer,  Stockholm. 

Height,  3^2  inches;  width,  5}£  inches. 


54  Miniature  Painting  in  the  style  of  Adam  Elsheimer.  1578-1620. 

Jacob  wrestling  with  the  Angel,  in  wide  landscape  showing  in 
the  center  a caravan  crossing  a bridge.  On  vellum,  of  the  same 
quality  and  brilliancy  of  coloring  as  the  preceding  item,  and  from 
the  same  collection  (Peltzer). 

Height,  2%  inches;  width,  4j£  inches. 


55  MOLENAER,  JAN  MIENSE  (ca.  1600-1668). 

Sketch  of  a Peasant,  on  the  Upper  Right  Study  of  a Hat  with 
Section  of  Face. 

Spirited  drawing  in  black  and  white  chalks  on  brown  paper. 
Height,  5J4  inches;  width,  4%  inches. 


56  The  Same. 

Group  of  Drinking  Peasants  Seated  Around  a Table,  to  the  left 
one  is  being  dragged  out  by  his  coat,  by  his  wife  and  a small 
child. 

Broad  and  spirited  drawing,  in  Molenaer’s  characteristic  style; 
black  and  white  chalks  on  greenish-blue  paper. 

Height,  W/%  inches;  width,  16^  inches. 


57  ADRIAN  VAN  OSTADE.  1610-1685. 

Beggar  Extending  His  Hat. 

Exquisite  little  design  in  sepia  and  India  ink.  From  the  Collec- 
tion of  Sir  Anthony  Westcombe  (died  1752).  Signed  A.  v O.  in 
lower  right. 

Height,  2J4  inches;  width,  1 inches. 


21 


58  PALAMEDES  PALAMEDESSEN  (ANTON).  Dutch,  17th  Cent. 

Crayon  Study  of  a Knight  on  Horseback. 

Height,  6 % inches;  width,  4^4  inches. 

59  SCHOOL  OF  RUBENS. 

Two  Angels  Appearing  to  an  Assembly  of  Noblemen  and  Clericals. 

Magnificent  sketch  in  black  and  red  chalks. 

From  the  Peltzer  Collection. 

Height,  8^4  inches;  width,  12^4  inches. 

60  JACOB  VAN  RUYSDAEL.  1628-1682. 

Old  Mill  with  Large  Water  Wheel,  on  a Hill  at  the  Right  Twoi 

Peasants. 

This  drawing  came  into  my  hands  last  year  and  was  described 
before  under  the  same  attribution,  which  was  verified  by  best  au- 
thority. It  will  be  interesting  to  state  that  since  I found  in  my 
possession  a reproduction  of  a Ruysdael  drawing  at  the  Rijks- 
museum,  which  shows  this  same  mill,  only  from  a different  angle, 
treated  in  the  same  characteristic  and  spirited  flow  of  line  as  in  the 
drawing  here  shown. 

Charcoal. 

Height,  414  inches;  width,  8J4  inches. 

61  SALOMON  VAN  RUYSDAEL.  1600-1670. 

Landscape  with  Hay-barns  Surrounded  by  Trees. 

Charcoal  design  in  Sal.  Ruysdael’s  very  characteristic  style. 

Height,  4f4  inches;  width,  8y2  inches. 


62  PIETER  RYSBRAECK.  (About  1700.) 

Heroic  Landscape,  at  the  Left  in  the  Foreground  a Man  Standing 
and  a Seated  Woman. 

Effective  and  charming  water-color  drawing  in  the  manner  of 
Moucheron.  From  the  Collection  A.  von  Lanna. 

Height,  6 24  inches;  width,  9l/2  inches. 


22 


63  Dutch  Artist  with  the  Monogram  C.  W.  S. 

Strongly  suggestive  of  the  manner  of  Cornelius  Saftleven,  1606-1681. 

Peasant  Woman  with  a Little  Boy,  Seated  on  a Grassy  Slope. 

Charming  design  in  black  and  red  chalks,  from  the  Peltzer  Col- 
lection. 

Height,  9%  inches;  width,  7%  inches. 


64  HERMANN  SAFTLEVEN.  1609-1685. 

Winter  Scene,  Pond  with  Sleighers;  in  the  foreground  a Man  putting 
on  His  Skates,  in  the  Distance  Ten  Skaters. 

Most  exquisite  little  drawing. 

Height,  3%  inches;  width,  2%  inches. 

See  reproduction  on  cover. 


65  The  Same. 

Shore  Landscape. 

To  the  right  on  an  elevation  a castle,  in  the  foreground  and 
middle  distance  wide  stretch  of  water  with  sailing  vessels  and 
row-boats. 

Black  chalk  and  sepia;  highly  representative  drawing  from  the 
collection  R.  Peltzer. 

Height,  5%  inches;  width,  10%  inches. 


66  Manner  of  Herman  Saftleven. 

Landscape  with  Old  City  Walls,  Moat  and  Draw-bridge. 

Numerous  people  seated  and  walking  near  the  walls  and  across 
the  bridge.  On  the  slope  in  the  foreground  two  goats,  on  the 
water  a rowboat. 

A lovely  drawing,  superb  in  detail  and  perspective. 


23 


Pen  and  sepia. 

Height,  4^8  inches;  width,  6 inches. 


67  GERARD  TERBORCH.  1617-1681. 

Young  Man,  with  a Large  Hat,  Leaning  on  a Rifle,  seen  from  the 
Back. 

Black  chalk  with  delicate  white  high-lights.  Masterly  drawing 
of  first  importance,  in  Terborch’s  most  characteristic  manner. 

Height,  l\y2  inches,  width,  6 % inches. 

See  reproduction. 


68  ADRIAN  VAN  DE  VELDE.  1636-1672. 

Open  Landscape  with  a Wide  River  in  the  Center  and  Foreground. 

On  its  banks  to  the  left  cattle  grazing,  on  the  right  a village 
with  church  steeple  and  large  trees. 

Signed  in  ink  in  lower  right,  A.  van  de  Velde  fee. 

Delicate  pencil  drawing  with  slight  green  coloring. 

Height,  5y&  inches;  width,  9%.  inches. 

69  ESAIAS  VAN  DE  VELDE.  1590-1630. 

Village  Street,  with  a Group  of  Talking  Men  and  Some  Pedestrians; 

in  the  Distance  a Bridge  Across  a Canal  and  Steeple. 

Fine  chalk  drawing  from  the  Peltzer  Collection,  where  it  was 
attributed  to  Jan  van  Goyen.  Best  authority,  however,  con- 
firms that  the  above  attribution  is  correct. 

Height,  4^4  inches;  width,  6H  inches. 


70  CORNELIS  VISSCHER.  1618-1658. 

Portrait  of  a Young  Man  with  Curly  Hair. 

Masterly  charcoal  drawing  on  vellum. 


24 


From  the  Peltzer  Collection. 

Height,  11  inches;  width,  9J4  inches. 


71  The  Same. 

Head  of  an  Old  Woman,  in  Profile  Turned  to  the  Right. 

Superb  charcoal  drawing  of  greatest  fineness  of  execution.  On 
vellum.  From  the  same  collection.  Signed  C.  Visscher. 

Height,  4§4  inches;  width,  inches. 


72  SIMON  DE  VLIEGER,  1601-1653. 

Interior  of  a Farm  Yard. 

At  the  left  background  a church  with  two  spires.  In  the  fore- 
ground, sheep,  cattle,  hogs  and  fowl.  In  the  center  a truck  with 
drinking  horse  and  four  peasants. 

Broadly  executed  charcoal  drawing,  exquisite  in  detail.  Charm- 
ingly colored,  in  water-colors,  probably  by  a later  hand. 

Signed  in  the  lower  margin  with  the  artist’s  full  name. 

From  the  Peltzer  Collection. 

Height,  7J4  inches;  width,  12^2  inches. 


73  MARTIN  DE  VOS.  1531-1603. 

The  Fall  of  the  Giants. 

Spirited  pen  and  India  ink  drawing.  Vigorous  composition  full 
of  action  and  detail.  Signed  in  lower  right.  Collection  Peltzer. 

Height,  5 inches;  width,  3%  inches. 


74  JACOB  DE  WIT.  1605-1654. 

Children  at  Play. 

Spirited  little  pen  and  India  ink  drawing  showing  a great  in- 
fluence of  Rembrandt. 

Height,  inches;  width,  1%  inches. 


25 


75-77  Unknown  Master  of  the  Seventeenth  Century. 

Three  male  portraits  in  black  and  red  chalks,  all  in  the  same 
manner,  in  profile  turned  towards  the  left. 

Oval,  7%  by  6H  inches. 

These  three  magnificent  designs  have  puzzled  every  connoisseur 
to  whom  they  were  submitted.  No  authority  feels  certain  about 
the  school  from  which  they  may  be  derived  and  I know  no  indi- 
vidual artist  from  whose  hand  similar  drawings  are  known.  They 
came  into  my  hands  under  the  attribution:  German  Master  about 
1630.  This  attribution  is  mainly  derived  from  the  character  of  the 
faces  of  the  portraitees,  which  show  the  type  of  leaders  and  states- 
men of  the  thirty  years  war.  The  one,  No.  76,  reveals  some  re- 
semblance with  the  features  of  the  Great  Elector.  Dr.  Friedlaen- 
der  is  inclined  to  give  these  drawings  to  the  French  School  of  the 
early  17th  Century.  He  thinks  of  some  follower  of  Dumonstier, 
a theory  to  which  undoubtedly  the  delicate  color  effect  led,  which 
is  characteristic  of  French  drawings  of  that  period.  The  line- 
work  in  these  drawings,  however,  is  entirely  different  from  that 
of  the  Dumonstier  and  Lagneau  drawings  and  the  eminent  secur- 
ity and  preciseness  of  line  rather  points  to  an  artist  like  Cornelis 
Visscher.  Also  the  features  of  the  portraitee  of  No.  75  reveal 
rather  a Holland  character  to  me  and  also  No.  77  might  well  be  a 
Dutch  type.  The  spirit  of  expression  led  me  to  the  suggestion 
of  Bartholomaeus  van  der  Heist,  but  I know  no  drawing  of  that 
master  of  such  careful  execution.  Various  good  authorities  share 
the  opinion  that  a Dutch  master  of  highest  standing  might  be 
the  author  of  these  three  highly  interesting  portraits. 


D.  FRENCH  AND  ENGLISH  DRAWINGS. 

78  STEFANO  DELLA  BELLA,  1610-1664,  Florentine,  but  worked  in 
Paris.  Fellow  pupil  of  Remigio  Canta  Gallina  with  Callot. 

Pen  and  Pencil  Sketch  of  Knights  and  Armor. 

Extremely  fine  and  delicate  design. 

Height,  3 inches;  width,  4J4  inches. 


26 


f- 


FRANCOIS  BOUCHER  No.  82 


79  The  Same. 


Two  Drawings  on  One  Mount. 

Above:  Two  peasants  on  a truck  with  horse. 

Height,  3%  inches;  width,  5§4  inches. 

Below:  Large  sketch  in  the  center,  partly  finished  in  ink,  sec- 

tion of  the  Coliseum,  to  the  left  and  right  slight  traces  of  architectu- 
ral design  in  light  pencil  work.  In  the  foreground  at  the  left 
a two-wheeled  truck  with  grazing  horse,  exquisitely  finished  in  pen. 

Height,  6^4  inches;  width,  934  inches. 

All  three  drawings  are  from  the  collections  Dijonval,  Dimsdale, 
Woodburn  and  C.  Gask.  All  show  the  provenance  in  ink  on  the 
reverse  written  by  Gask,  the  well-known  collector  of  drawings. 

Characteristic  and  superb  designs,  showing  the  artist’s  close  rela- 
tions to  Callot. 


80  JEAN  JACQUES  DE  BOISIEU.  1736-1810. 

Half  Figure  Sketch  of  an  Old  Man. 

Beautiful  and  delicate  drawing  in  black  and  red  chalks  signed 
de  Boisieu  in  lower  right  corner.  From  the  Peltzer  Collection. 

Height,  7J4  inches;  width,  534  inches. 


81  ROBERT  BOISSARD.  About  1600.  (Born  1570.) 

Nymphs,  Surprised  by  Satyrs. 

Lively  and  graceful  composition,  designed  in  exquisite  flow  of 
the  pen.  From  the  Peltzer  Collection. 

Circular,  6 inches  diameter. 


82  FRANCOIS  BOUCHER.  1704-1770. 

Decorative  design,  probably  representing  Diana  and  Endymion. 
A Goddess,  surrounded  by  Cupids  floating  on  clouds  towards  a 
sleeping  shepherd. 

Oval,  black  chalk,  with  white  delicate  high-lights  on  bluish-grey 
paper,  signed  in  center  below:  F.  Boucher. 


27 


From  the  collection  of  J.  B.  de  Graaf,  Amsterdam,  1820.  Mag- 
nificent drawing  of  first  importance  in  Boucher’s  most  character- 
istic style. 

Height,  11*4  inches;  width,  15  inches. 

See  reproduction. 


83  SCHOOL  OF  BOUCHER. 

Joseph  and  the  Wife  of  Potiphar. 

Black  chalk  and  white  high-lights  on  grey  paper.  Bold  and  rough 
compostion  with  faulty  design,  but  showing  much  dash  and  the 
characteristic  qualities  of  work  of  the  period. 

Oval.  Height,  13  inches;  width,  10  inches. 


84  JACQUES  CALLOT.  1592-1635. 

Old  Priest  or  Sorcerer  in  a Conjuring  Attitude. 

Spirited  pen  drawing. 

Height,  4*4  inches;  width,  2*/2  inches. 


85  The  Same. 

Two  small  drawings  from  the  Vallardi  Collection,  the  one  show- 
ing three  sketches  on  one  sheet,  in  pen  and  sepia;  the  other,  a wan- 
dering pilgrim,  in  pen  and  India  ink. 


86  FRAGONARD,  JEAN  HONORE.  1732-1806. 

Two  Women,  Playing  with  an  Infant. 

Bold  and  vigorous  charcoal  sketch. 

From  the  Collection  of  Baron  R.  de  Portalis  (the  author  of  the 
work  on  Fragonard). 

Height,  6]4  inches;  width,  8?£  inches. 


28 


87  The  Same. 

Allegorical  design,  Female  figure  seated  on  clouds,  with  Angels. 
Design  for  a Fresco,  from  the  Collection  Michel  Levy,  Paris. 

Chalk  and  sepia,  highly  spirited  and  characteristic  piece.  Both 
Fragonard  drawings  were  acquired  by  me  upon  advice  of  Dr.  M.  J. 
Friedlaender,  who  considers  them  very  typical  works  of  the  artist. 

Height,  iy%  inches;  width,  10  inches. 


88  JEAN  BAPTISTE  HUET.  1740-1810. 

Peasant  Boy,  Standing  in  Whole  Length,  Leaning  on  a Large  Stick. 

Clever  sanguine  drawing,  carefully  executed. 

To  me  the  authorship  of  this  design  points  rather  to  J.  B.  Le 
Prince,  whose  studies  of  Russian  peasants  are  familiar;  also  the 
type  of  this  peasant  suggests  Russian  nationality  rather  than 
French. 

Height,  10J4  inches;  width,  7^4  inches. 


89  CHARLES  PARROCEL.  1688-1752. 

Don  Quixote  and  Sancho  in  a Stable  with  Donkey  and  Horse. 

Charming  and  humoristic  drawing  in  highly  spirited  flow  of  line. 
This  drawing  from  the  Peltzer  Collection  was  previously  attributed 
to  J.  B.  Pierre.  The  present  attribution,  which  also  to  the  writer 
seems  conclusive,  is  due  to  Mr.  R.  Schrey,  curator  in  the  Frankfort 
Museum. 

Height,  10 % inches;  width,  13^6  inches. 


90  JEAN  BAPTISTE  JOSEPH  PATER.  1695-1736. 

Young  Man,  Drapery  Study  in  Red  Chalk. 

A drawing  of  the  highest  artistic  merit. 

This  design,  from  the  Peltzer  Collection,  was  reproduced  in  that 
catalogue  and  described  under  the  name  of  Watteau.  When  acquir- 
ing the  drawing  at  the  sale  of  that  collection,  I doubted  the  attribu- 
tion, but  bought  the  design  on  account  of  its  extraordinary,  high 


29 


quality.  Dr.  Friedlaender,  in  Berlin,  was  the  first  to  give  the  above 
attribution,  and  soon  after  I saw  in  the  Louvre  Collection  two 
designs  by  Pater,  also  drapery  studies,  treated  in  the  identical 
manner,  i.  e.,  the  faces  treated  very  delicately,  while  the  heavy 
accent  is  laid  on  the  drapery  work. 

Height,  6 inches;  width,  4^4  inches. 

See  reproduction. 

91  ANDRE  PORTAIL,  Famous  Portraitist  and  Designer.  Died  1760. 

Young  Woman,  Seated  in  a Chair,  in  Full  Figure. 

Drawing  in  red  and  black  crayons  of  the  most  exquisite  and  char- 
acteristic quality.  A masterwork  of  French  18th  Century  draughts- 
manship. From  the  Collection  of  E.  Desperet,  1865. 

Height,  8|4  inches;  width,  6 inches. 


92  CARLE  VANLOO.  1705-1765. 

Venus  and  Cupid  as  Shepherds. 

Highly  finished  India  ink  drawing,  from  the  Peltzer  Collection. 
Height,  14  inches;  width,  11  inches  . 


93  FRANCOIS  VERDIER.  1651-1730.  School  of  Poussin. 

Scene  of  the  Old  Testament. 

Fine  composition,  spirited  drawing  in  black,  white  and  red  chalks 
on  brown  paper.  From  the  Collections  Peoli  and  R.  Hoe. 

Height,  5%  inches;  width,  10^4  inches. 

94  ANTOINE  WATTEAU.  1684-1721.  (Attributed  to.) 

Sketch  of  the  Head  of  a Boy,  in  Red  and  Black  Chalk. 

This  exquisite  design  was  purchased  by  me  in  Paris  under  the 
above  attribution.  With  names  as  great  as  that,  unless  I hold  pos- 
itive proof,  I prefer  to  be  very  careful;  but  a high  Paris  authority, 
now  in  town,  to  whom  this  drawing  was  recently  submitted,  con- 


30 


J.  B.  J.  PATER 


No.  yo 


firmed  to  me  that  he  thought  it  very  likely  that  Watteau  himself 
was  the  author  of  this  very  fine  drawing. 

Oval.  Height,  5^4  inches;  width,  4 inches. 


ENGLISH  DRAWINGS. 

95-96  CIPRIANI,  GIOVANNI  BATTISTA.  Florence,  1727.  London, 
1785. 

Two  Heads  of  Girls,  in  Profile. 

Very  pleasing  designs  in  chalk  and  water-color. 

Height,  6^8  inches;  width,  5 K inches. 


97  KNELLER,  SIR  GODFREY.  1648-1723. 

Lady  Seated  in  an  Arm-Chair. 

Magnificent  design  in  black,  white  and  red  chalks  on  blue  paper. 
This  same  portrait  has,  to  my  knowledge,  been  engraved  in  mezzo- 
tinto. 

Height,  13  inches;  width,  1034  inches. 


98  GEORGE  MORLAND.  1763-1804. 

Two  Ladies,  One  of  Them  Kissing  a Large  Dog,  Forest  Landscape 
in  the  Distance,  to  the  Left  a Gentleman  Approaching. 

Charming  pen  and  water-color  drawing;  oval.  On  the  reverse 
a note  in  old  handwriting:  A Sketch  by  G.  Morland  from  the 

Pastor  Fido. 

Height,  10  inches;  width,  12  inches. 


99  C.  KIRKPATRICK  SHARPE.  English  Artist  of  the  18th  Century. 

Young  Nobleman,  in  Court  Attire,  Holding  a Greyhound,  which 
Stands  on  Its  Hind  Legs. 

Delicate  water-color  drawing  in  the  manner  of  R.  Cosway.  The 


31 


above  is  one  of  a series  of  family  portraits  in  this  same  style,  one 
with  the  artist’s  full  signature  and  the  name  of  the  portraitee,  Lord 
Claude  Hamilton,  has  passed  through  my  hands.  Also  this  seems 
to  be  a portrait  of  the  Hamilton  Family. 

Height,  9Y%  inches;  width,  6^4  inches. 

100  WHEATLEY,  FRANCIS.  1747-1801. 

Bust  Portrait  of  a Young  Country  Girl. 

Strong  and  pleasing  design  in  colored  chalks  on  gray  paper. 

Height,  15  inches;  width,  10^4  inches. 


